Laufey
RAC Arena, Perth, WA
Saturday, July 25th
Grammy winner and jazz-pop innovator Laufey brought her world tour to Perth Arena.
A two-hour epic, split into separate acts, saw Laufey cross genres with precision and class while remaining both completely herself and a show-woman of the highest calibre.
Opener Leonie Biney was met with an extremely enthusiastic crowd, her three-piece ensemble warm and lush, while she exuded confidence and serenity. Donned in flared glittery jeans with a lilac flower in her hair, she declared she was “the sexiest person on this stage,” and yes, she was.
During the break between acts, eager fans were offered ‘Laufey Trivia’ and opportunities to collect their own Mei Mei (a white bunny that’s the subject of Laufey’s upcoming children’s book and seemingly somewhat of an inside joke among fans.) All of this was set to the soundtrack of swing records from the ’40s and ’50s, while a large stage crew eventually revealed the set.
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The animated curtain dropped to expose a whimsical fairytale-inspired dual staircase, both steps leading to a collection of thin white arches. Beneath them hung a porch-style swing, the band and small orchestra positioned on the far left and right, leaving the middle of the stage completely open. As the band of at least seven members took their positions, the crowd squealed as Chet Baker’s “Look for the Silver Lining” played in full, before Laufey herself emerged.
“Clockwork” saw Laufey energetically bound into view. Credits showed the names of all band members and dancers, a crackly black and white aesthetic that bled into the announcement of Act One.
Five dancers dressed as bunnies – another reference to Mei Mei – circled Laufey as she joined in on choreography, her grin adding to the comedic and playful tone the show had all night. After introducing us to her delicious alto, she spoke – and if there’s one thing to know about Laufey, it’s that she will speak. One of her most charming qualities was her occasional rambling, moments that jumped from humour to earnestness to pure stream of consciousness, like when she talked about her stigmatism or her bedazzled water bottle.
She spoke of being a teenager in an orchestra, dreaming of somehow combining her songwriting with orchestral composition. “I was afraid no one would listen,” she admitted, until she released “Let You Break My Heart Again”, the song that proved to her there were people who wanted to hear what she had to say. “All of my confidence in songwriting has come from your response to this song,” she added.
Credit: Nicole Mago
Laufey split her time between piano, guitars, cello, and a vocal range that felt almost alien in its expansiveness. Act Two was unforgettable, the screen reading “ready for some jazz?”. This set was truly transportive, an arena sent back in time to create an inmate and sensual experience. All of this was intentional, as made clear by Laufey herself. “With this tour, I wanted to find a way to make these really big rooms feel cosy,” she revealed. She and her world-class band turned the space into a jazz club, offering new compositions of some of Laufey’s oldest work.
Act Three opened with “Carousel”. It was clear that there are so many different facets to Laufey as a performer. As she took a moment to sit and play her cello, it felt like a private ode to the girl with a dream. Minutes later it was time for Act Four, and she reappeared in what can be best described as a marching band outfit – but a sexy version – with a renewed sense of confidence.
It is so exciting to think that this is the kind of artist that is selling out arenas in the farthest corners of the world. Laufey is nothing short of inspiring, and her show is one for the ages.
